Signed Shi DabinUniquely potted to resemble a straw hat, the wide body rising from a flattened base with a semi-spherical dome stacked on top of another similar but larger dome, the sides flanked by a curved spout and a 'C'-shaped handle with a thumb rest, both barbed cross-sections finely fashioned in quatrelobed haitang shape, the cover surmounted by a compressed globular knop with a pointed tip, the circular recession at the base carefully incised with a four-character kaishu potter's signature, the stoneware of an even creamy coffee colour with lavish speckles of gold all around, fitted box.14cm wide. (2).

Footnotes

Provenance:Gong Xinzhao collection (1870-1949)

'Straw-hat', also known as 'tai li' is considered one of the traditional forms of Yixing teapots and first appeared during the late Ming dynasty. For another teapot also signed by Shi Dabin with identical shape but with reddish tone, from the Chen Keli collection, see Lai Fulai and Chen Keli, Yangxian shaqi jingpin tupu (An Illustrated Collection of Fine Stonewares of Yangxian), Taipei, 1985, pl.3. For an example of another similar teapot of magnolia shape by Shi Dabin, dated to the Wanli period, see Hong Kong Museum of Art ed., Yixing Purple Clay Wares - The K.S.Lo Collection, Flagstaff House Museum of Tea Ware, Hong Kong, 2002, p.54, pl.3.

The date of Shi Dabin's birth and death is not recorded in any historical records. However, according to Li Jingkang and Zhanghong, Yangxian shahu tukao (A Pictorial Study of Yangxian Pottery Teapots), vol.1, 1937, p.7, his family can be traced back to the Song dynasty, during which his grandfather was Shi Yan, a high Court officer. His superb craftsmanship was taught by his father, Shi Peng. As a master potter, Shi Dabin is known to have taken special care in the preparation of his clay material. Sometimes he would pound old shards into a fine powder, then sieve and mix it with quartz, to give the clay an archaic yet elegant and even texture. His early works are in the style of Gong Chun, for whom he had the highest admiration. However, after travelling to Loudong in South China and being introduced to the literary circle led by Chen Meigong, whose members were all tea connoisseurs, he learned their preference for using small teapots and shifted his style in order to follow the trend. In addition to his excellent craftsmanship in teapot making, the elegant style of his incised signature was often used to distinguish other copies of inferior quality.

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